All great painters by direct intercourse with Nature have extracted from her facts which others have not observed before, and interpreted them by methods which are personal and expressive of themselves – this is the great tradition of Realism. It can be traced in Europe down from Van Eyck and the early French primitives of the Ecole d’Avignon. It is carried through the dark period of the Poussins and Lebruns by Les Frères le Nain; in the eighteenth century by Chardin; in the nineteenth by Courbet and the Impressionists, and unbroken to this day by Cézanne and Van Gogh. Realism has produced the “Pieta” of the Ecole d’Avignon, the “Flemish Merchant and Lady” of Van Eyck, the old man and child of Ghirlandajo at the Louvre, “La Parabole des Aveugles” of Breughel (Le Vieux), the ‘‘Repos de Paysans” of Les Frères le Nain. Greco, Rembrandt, Millet, Courbet, Cézanne – all the great painters of the world have known that great art can only be created out of continued intercourse with nature.
How to cite
Charles Ginner, ‘Neo-Realism’, in The New Age, 1 January 1914, pp.271–2, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/charles-ginner-neo-realism-r1104282, accessed 26 May 2019.